Quotes about gallery

A collection of quotes on the topic of gallery, art, doing, work.

Quotes about gallery

“I like my name. My parents were in the Uffizi Gallery looking at a Leonardo Da Vinci when my mom felt me kick. That's how I got my name. My parents were real hippies.”

Leonardo DiCaprio (1974) American actor and film producer

http://www.popmonk.com/actors/leonardo-dicaprio/quotes-leonardo-dicaprio.htm

Moms, Parent

“Arguments for preservation based on the beauty of wilderness are sometimes treated as if they were of little weight because they are "merely aesthetic". That is a mistake. We go to great lengths to preserve the artistic treasures of earlier human civilisations. It is difficult to imagine any economic gain that we would be prepared to accept as adequate compensation for, for instance, the destruction of the paintings in the Louvre. How should we compare the aesthetic value of wilderness with that of the paintings in the Louvre? Here, perhaps, judgment does become inescapably subjective; so I shall report my own experiences. I have looked at the paintings in the Louvre, and in many of the other great galleries of Europe and the United States. I think I have a reasonable sense of appreciation of the fine arts; yet I have not had, in any museum, experiences that have filled my aesthetic senses in the way that they are filled when I walk in a natural setting and pause to survey the view from a rocky peak overlooking a forested valley, or by a stream tumbling over moss-covered boulders set amongst tall tree-ferns, growing in the shade of the forest canopy, I do not think I am alone in this; for many people, wilderness is the source of the greatest feelings of aesthetic appreciation, rising to an almost mystical intensity.”

Peter Singer book Practical Ethics

Source: Practical Ethics

People, Beauty, Art, Way

“While the others had got married and moved out to suburbia, I had stayed in London and got into the arts scene through friends like Robert Fraser and Barry Miles and papers like The International Times. We opened the Indica gallery with John Dunbar, Peter Asher and people like that. I heard about people like John Cage, and that he’d just performed a piece of music called 4’33” (which is completely silent) during which if someone in the audience coughed he would say, ‘See?’ Or someone would boo and he’d say, ‘See? It’s not silence—it’s music.’ I was intrigued by all of that. So these things started to be part of my life. I was listening to Stockhausen; one piece was all little plink-plonks and interesting ideas. Perhaps our audience wouldn’t mind a bit of change, we thought, and anyway, tough if they do! We only ever followed our own noses—most of the time, anyway. ‘Tomorrow Never Knows’ was one example of developing an idea.”

Paul McCartney (1942) English singer-songwriter and composer

The Beatles Anthology (2000), p. 212

Life, People, Art, Music

“All art needs this visible world and will always need it. Quite simply because, being accessible to all, it is the key to all other worlds. ** Quote from Zeichnungen von E. L. Kirchner, (under his pseudonym de:Louis de Marsalle) E. L. Kirchner, Genius 2, Book 2, 1921, 216-234, reprinted by National Gallery, Washington D. C. 2003, p. 226”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

1920's

Books, World, Art, Quotes

“The only possible alternative is simply to keep to immediate experience that consciousness is a singular of which the plural is unknown; that there is only one thing and that what seems to be a plurality is merely a series of different aspects of this one thing, produced by a deception (the Indian MAJA); the same illusion is produced in a gallery of mirrors, and in the same way Gaurisankar and Mt Everest turned out to be the same peak seen from different valleys.”

Erwin Schrödinger book What Is Life?

What Is Life? (1944)

Way

“When Miss Nochlin says: 'If women have in fact achieved the same status as men in the arts, then the status quo is fine as it is.' Well, I think the status quo in the arts is fine as it is - in this country [America] at least, women have exactly the same chance that men do. There are the same schools, museums, galleries, books, art stores. There are no obstacles in the way of a woman becoming a painter or sculptor other than the usual obstacles that any artist has to face.”

Elaine de Kooning (1918–1989) American painter

n. p.
1950 - 1971, Why Have There Been No Great Women Artists' - Rosalyn Drexler with Elaine de Kooning (1971)

Women, Men, Books, School

“A kind of music far superior, in my opinion, to that of operas, and which in all Italy has not its equal, nor perhaps in the whole world, is that of the 'scuole'. The 'scuole' are houses of charity, established for the education of young girls without fortune, to whom the republic afterwards gives a portion either in marriage or for the cloister. Amongst talents cultivated in these young girls, music is in the first rank. Every Sunday at the church of each of the four 'scuole', during vespers, motettos or anthems with full choruses, accompanied by a great orchestra, and composed and directed by the best masters in Italy, are sung in the galleries by girls only; not one of whom is more than twenty years of age. I have not an idea of anything so voluptuous and affecting as this music; the richness of the art, the exquisite taste of the vocal part, the excellence of the voices, the justness of the execution, everything in these delightful concerts concurs to produce an impression which certainly is not the mode, but from which I am of opinion no heart is secure. Carrio and I never failed being present at these vespers of the 'Mendicanti', and we were not alone. The church was always full of the lovers of the art, and even the actors of the opera came there to form their tastes after these excellent models. What vexed me was the iron grate, which suffered nothing to escape but sounds, and concealed from me the angels of which they were worthy. I talked of nothing else. One day I spoke of it at Le Blond's; "If you are so desirous," said he, "to see those little girls, it will be an easy matter to satisfy your wishes. I am one of the administrators of the house, I will give you a collation [light meal] with them." I did not let him rest until he had fulfilled his promise. In entering the saloon, which contained these beauties I so much sighed to see, I felt a trembling of love which I had never before experienced. M. le Blond presented to me one after the other, these celebrated female singers, of whom the names and voices were all with which I was acquainted. Come, Sophia, — she was horrid. Come, Cattina, — she had but one eye. Come, Bettina, — the small-pox had entirely disfigured her. Scarcely one of them was without some striking defect.
Le Blond laughed at my surprise; however, two or three of them appeared tolerable; these never sung but in the choruses; I was almost in despair. During the collation we endeavored to excite them, and they soon became enlivened; ugliness does not exclude the graces, and I found they possessed them. I said to myself, they cannot sing in this manner without intelligence and sensibility, they must have both; in fine, my manner of seeing them changed to such a degree that I left the house almost in love with each of these ugly faces. I had scarcely courage enough to return to vespers. But after having seen the girls, the danger was lessened. I still found their singing delightful; and their voices so much embellished their persons that, in spite of my eyes, I obstinately continued to think them beautiful.”

Jean Jacques Rousseau (1712–1778) Genevan philosopher

Confessions of Jean-Jacques Rousseau (1765-1770; published 1782), On the musicians of the Ospedale della Pieta (book VII)

Love, Marriage, Age, World

“A few months ago, in response to too many tragedies -- including the shootings of a United States Congresswoman, Gabby Giffords, who's here today, and the murder of 20 innocent schoolchildren and their teachers -- this country took up the cause of protecting more of our people from gun violence. Families that know unspeakable grief summoned the courage to petition their elected leaders -- not just to honor the memory of their children, but to protect the lives of all our children. And a few minutes ago, a minority in the United States Senate decided it wasn't worth it. They blocked common-sense gun reforms even while these families looked on from the Senate gallery.”

Barack Obama (1961) 44th President of the United States of America

Senate Votes to Block Expanded Background Checks for Gun Sales (17 April 2013) http://www.whitehouse.gov/blog/2013/04/17/senate-votes-block-expanded-background-checks-gun-sales 2013

Children, People, Family, Courage

“I told them we are making a shooting gallery out of a great business and nobody is profiting by it.”

Al Capone (1899–1947) American gangster

Making love, Business

“Never play to the gallery... Never work for other people in what you do. Always remember that the reason that you initially started working was that there was something inside yourself that you felt that if you could manifest in some way, you would understand more about yourself and how you co-exist with the rest of society... I think it's terribly dangerous for an artist to fulfil other people's expectations.”

David Bowie (1947–2016) British musician, actor, record producer and arranger

Inspirations (1997), quoted in "Looking back at David Bowie's invaluable advice for young artists" https://faroutmagazine.co.uk/david-bowie-advice-young-artists/

People, Way, Understanding, Thinking

“How right that the body changed over time, becoming a gallery of scars, a canvas of experience, a testament to life and one's capacity to endure it.”

Janet Fitch (1955) American writer

Life, Change, Time

“A crowd is not company; and faces are but a gallery of pictures; and talk but a tinkling cymbal, where there is no love.”

Francis Bacon book Essays

Of Friendship
Essays (1625)

Love

“History, it is easily perceived, is a picture-gallery containing a host of copies and very few originals.”

Alexis De Tocqueville book The Old Regime and the Revolution

Original text: On voit que l'histoire est une galerie de tableaux où il y a peu d'originaux et beaucoup de copies. Variant translation: History is a gallery of pictures in which there are few originals and many copies. Old Regime (1856), p. 88 http://books.google.com/books?id=N50aibeL8BAC&pg=PA88&vq=%22history,+it+is+easily+perceived%22&source=gbs_search_r&cad=1_1 1850s and later

History

“An attempt to achieve the good by force is like an attempt to provide a man with a picture gallery at the price of cutting out his eyes.”

Ayn Rand book Capitalism: The Unknown Ideal

Capitalism: The Unknown Ideal (1966)

“Which painting in the National Gallery would I save if there was a fire? The one nearest the door of course.”

George Bernard Shaw (1856–1950) Irish playwright

Painting

“What is this gallery? Why should she have a gallery of things done by us?”

Kazuo Ishiguro book Never Let Me Go

Source: Never Let Me Go (2005), Chapter 3, p. 30

“Utilitarianism had found [ in Samuel Smiles’ Self-Help] its portrait gallery of heroes, inscribed with a vigorous exhortation to all men to strive in their image; this philistine romanticism established the bourgeois hero-prototype—the penniless office-boy who works his way to economic fortune and this wins his way into the mercantile plutocracy.”

John Carroll (1944) Australian professor and author

Source: Break-Out from the Crystal Palace (1974), p. 12

Men, Smile, Way, Boy

“What foreigners like most about Britain is not multiculturalism or tolerance or any of that new Labour nonsense. No, what they like is our history. Shakespeare. Blenheim Palace. Soldiers in preposterous hats who don't move. Yes, they may go and see some dead dogs in a modern art gallery but that's only because they've spent the morning on top of a sightseeing bus and they're freezing.”

Jeremy Clarkson (1960) English broadcaster, journalist and writer

Source: For Crying Out Loud! The World According to Clarkson Volume Three (2008), p. 17

Dogs, Art, History, Dead

“In 1987 a Civil Service inquiry decided that the pay of the Director of the Tate Gallery should match that of the Director of the much larger Victoria & Albert Museum and of the National Gallery, where the pictures were regarded as being much more important, because, and here I quote, "the Director of the Tate has to deal with the very difficult problem of modern art."”

Nicholas Serota (1946) British curator

The Dimbleby Lecture 2000

Art, Quotes, Problem

“As I hear, you are the possessors of one of my favorite paintings 'The children on the beach' and I can tell you that few pictures by me, have so much figures, busy in the subject. Therefore I mean that this picture is an unicum and I hope you will give it a good light and place in your gallery.”

Jozef Israëls (1824–1911) Dutch painter

Israels in his letter to Amercian art-sellers Moulton & Ricketts, 27 June 1910; as cited in Jozef Israëls, 1824 – 1911, ed. Dieuwertje Dekkers; Waanders, Zwolle 1999, p. 188
Quotes of Jozef Israels, after 1900

Children, Hope, Business, Light

“I always try to use new media for the gallery, but I realize that pixels and mosaics are mainly my signature.”

Invader (artist) (1969) French urban artist

"http://www.complex.com/style/2014/07/space-invader-interview"

“I have never really understood the objection to art which is specifically made for a gallery or museum, and so cannot be collected by an individual or taken home. It is rather like saying that all music should be confined to the chamber work or novels to the short story.”

Nicholas Serota (1946) British curator

The Dimbleby Lecture 2000

Art, Music, Home

“Dotty: Archie says the Church is a monument to irrationality.
George: … The National Gallery is a monument to irrationality! Every concert hall is a monument to irrationality! — and so is a nicely kept garden, or a lover's favour, or a home for stray dogs! You stupid woman, if rationality were the criterion for things being allowed to exist, the world would be one gigantic field of soya beans!”

Tom Stoppard Jumpers

Act I
Jumpers (1972)

Stupidity, World, Dogs, Home

“The show is called 'Wind'. I tried here to make work which looks like wind, and it is the most difficult thing to do; I was thinking of Leonardo da Vinci – as he was, for instance, always wanting to fly. And then, this hand of Michael Jackson is like 'ffffffff', 'I'm leaving' (makes gesture with her hand and mouth in the mirror in the hallway of the gallery, mimicking the action that Jackson is depicted making on the invitation card of her show - Simon Denny). Not in a sad way, but…. in a way a little bit sad too. And then I said 'Isa Genzken', because I always liked him so much. For instance, I would always have jackets like this one. This is my favourite kind of style, and so I said 'ffff' [blowing gesture] 'Now I'm coming'… It's like 'don't be afraid, don't be sad, you know… I'm here.”

Isa Genzken (1948) German sculptor

2001 - 2010, Out to Lunch with Isa Genzken' (2009)

Sadness, Way, Thinking, Flying

“The gallery in which the reporters sit has become a fourth estate of the realm.”

Thomas Babington Macaulay, 1st Baron Macaulay (1800–1859) British historian and Whig politician

On Hallam's Constitutional History (1828)

“My works are dear to me, each in its own way, I shall have to answer for them on the Day off Judgement. God alone knows whether I shall ever see them again. Quite apart from the money which I was going to receive for their sale there (exhibition in Gallery Der Sturm, Berlin June-July, 1914) and it is no small sum..”

Marc Chagall (1887–1985) French artist and painter

In a letter to A. N. Benois, 1914, on his return to Russia; as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 147
1910's

Money, God, Way

“Soon there will be nothing left except the lying dreams of history, the miserable wreckage of our museums and picture-galleries, and the carefully guarded interiors of our aesthetic drawing-rooms, unreal and foolish, fitting witnesses of the life of corruption that goes on there, so pinched and meagre and cowardly, with its concealment and ignoring, rather than restraint of, natural longings; which does not forbid the greedy indulgence in them if it can but be decently hidden.”

William Morris (1834–1896) author, designer, and craftsman

Signs of Change (1888), The Aims of Art

Life, Dreams, History, Lying

“There was a lot of revision that went into [making] the [Wind] sculptures, [c. 2009 - meant as her response to the death of Michael Jackson which she admired]. It might look like I just went in the gallery and they just went up – just like that – but it was not like that. It was really a long process to get the things to look the way they do, to have that balance especially in relation to what I already said about minimalism, and to also have this light touch to them.”

Isa Genzken (1948) German sculptor

2001 - 2010, Out to Lunch with Isa Genzken' (2009)

Death, Way, Light

“In the Soviet Union, he knew, great art hangs in public galleries. No scholars, no men and women waiting to mend their souls before a Raphael or a Matisse need wait, cap in hand at the mansion door.”

George Steiner (1929–2020) American writer

"The Cleric of Treason".
George Steiner: A Reader (1984)

Women, Men, Art, Soul

“I had given up [around 1950] any ambition of making a career as an artist... I had lost all interest in the art shown in galleries and museums, and I no longer aspired to fit in that world. I loved the paintings done by children, and my only desire was to do the same for my own pleasure.”

Jean Dubuffet (1901–1985) sculptor from France

Source: posthumous, Batons rompus, 1986, pp. 7-8

Love, Children, Pleasure, World

“The next monument visited was the great Jain temple built only a few years before by Shantidas Jhaveri, one of the wealthiest men of Gujarat in his day and high in favour both with Shah Jahan and after him with Aurangzeb. …In 1638, however, when Mandelslo visited the place, this temple which he calls ‘ the principal mosque of the Banyas ’ was in all its pristine splendour and ‘ without dispute one of the noblest structures that could be seen’. ‘It was then new,’ he adds, ‘ for the Founder, who was a rich Banya merchant, named Shantidas, was living in my time.
As Mandelslo’s description is the earliest account we have of this famous monument, which was desecrated only seven years after visit by the Orders of Aurangzeb, then viceroy of Gujarat (1645), we shall reproduce it at some length. It stood in the middle of a great court which was enclosed by a high wall of freestone. All about this wall on the inner side was a gallery, similar to the cloisters of the monasteries in Europe, with a large number of cells, in each of which was placed a statue in white or black marble. These figures no doubt represented the Jain Tirthankars, but Mandelslo may be forgiven when he speaks of each of them as ‘ representing a woman naked, sitting, and having her legs lying cross under her, according to the mode of the country. Some of the cells had three statues in them, namely, a large one between two smaller ones.’ At the entrance to the temple stood two elephants of black marble in life- size and on one of them was seated an effigy of the builder. The walls of the temple were adorned with figures of men and animals. At the further end of the building were the shrines consisting of three chapels divided from each other by wooden rails. In these were placed marble statues of the Tirthankars with a lighted lamp before that which stood in the central shrine. One of the priests attending the temple was busy receiving from the votaries flowers which were placed round the images, as also oil for the lamps that hung before the rails, and wheat and salt as a sacrifice. The priest had covered his mouth and nose with a piece of linen cloth so that the impurity of his breath should not profane the images.”

Shantidas Jhaveri (1580–1659) Indian jewellery and bullion trader during Mughal era

Description of the temple built by Shantidas Jhaveri. Mandelslo’s Travels In Western India (a.d.1638-9) https://archive.org/details/in.ernet.dli.2015.531053 p. 23-25

Life, Men, Flowers, Lying

“I am grateful for the [financial] assistance I received last year [1955] through the Helene Wurlitzer Foundation. It gave me the materials I needed and a certain amount of security and enabled me to make a very good try for my New York show. This did not succeed but Miss Betty Parsons whose gallery I will eventually show in assured me that in one more year she thought I could make it, which is not discouraging... I painted all together one hundred canvasses of which I had a good opinion and sold seven”

Agnes Martin (1912–2004) American artist

in a year
In a letter to Helene Wurlitzer, late 1956; as quoted by Christina Bryan Rosenberger, in Drawing the Line: The Early Work of Agnes Martin, Univ of California Press, July 2016, p. 88
1950's

Painting

“The purpose of consciousness is to illuminate the world. If we try to run consciousness at half its proper voltage, the result will be a 'devalued' world. But that is not the fault of the world; it is our fault. Low-voltage consciousness shows us less of the world that high-voltage consciousness, just as we would see an art gallery less clearly by candlelight than by sunlight.”

Colin Wilson (1931–2013) author

An Essay On the 'New' Existentialism (1986)

World, Art

“And the music came back with the carnival, the music you've heard as far back as you can remember, ever since you were little, that's always playing somewhere, in some corner of the city, in little country towns, wherever poor people go and sit at the end of the week to figure out what's become of them, sometimes here, sometimes there, from season to season, it tinkles and grinds out the tunes that rich people danced to the year before. It's the mechanical music that floats down from the wooden horses, from the cars that aren't cars anymore, from the railways that aren't at all scenic, from the platform under the wrestler who hasn't any muscles and doesn't come from Marseille, from the beardless lady, the magician who's a butter-fingered jerk, the organ that's not made of gold, the shooting gallery with the empty eggs. It's the carnival made to delude the weekend crowd. We go in and drink the beer with no head on it. But under the cardboard trees the stink of the waiter's breath is real. And the change he gives you has several peculiar coins in it, so peculiar that you go on examining them for weeks and weeks and finally, with considerable difficulty, palm them off on some beggar. What do you expect at the carnival? Gotta have what fun you can between hunger and jail, and take things as they come. No sense complaining, we're sitting down aren't we? Which ain't to be sneezed at. I saw the same old Gallery of the Nations, the one Lola caught sight of years and years ago on that avenue in the park of Saint-Cloud. You always see things again at carnivals, they revive the joy of past carnivals. Over the years the crowds must have come back time and again to stroll on the main avenue of the park of Saint-Cloud…taking it easy. The war had been over long ago. And say I wonder if that shooting gallery still belonged to the same owner? Had he come back alive from the war? I take an interest in everything. Those are the same targets, but in addition, they're shooting at airplanes now. Novelty. Progress. Fashion. The wedding was still there, the soldier too, and the town hall with its flag. Plus a few more things to shoot at than before.”

Louis-ferdinand Céline book Journey to the End of the Night

27
Journey to the End of the Night (1932)

Hunger, War, People, Music

“Burke said there were Three Estates in Parliament; but, in the Reporter's Gallery yonder, there sat a Fourth Estate more important far than they all.”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

1840s, Heroes and Hero-Worship (1840), The Hero as Man of Letters

“I have been in Munich this week, and got to know the whole 'Neue Künstlervereinigung' at [gallery] Tannhauser's – Jawlensky, Kandinsky etc... For Munich they are very, very good, I was interested.”

August Macke (1887–1914) German painter of the expressionist group Der Blaue Reiter

Quote in Macke's letter to Franz Marc, September 1910; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 137

“The moral ideal has disappeared in all that has to do with international relations. The gain-seeking impulse supported by brute force has taken its place, and so far as the surface of things is concerned human civilization has gone back a full thousand years. Inconceivable though it be, we are brought face to face in this twentieth century with governments of peoples once great and highly civilized, whose word now means absolutely nothing. A pledge is something not to be kept, but to be broken. Cruelty and national lust have displaced human feeling and friendly international co-operation. Human life has no value, and the savings of generations are wasted month by month and almost day by day in mad attempts to dominate the whole world in pursuit of gain.
How has all this been possible? What has happened to the teachings and inspiring leadership of the great prophets and apostles of the mind, who for nearly three thousand years have been holding before mankind a vision of the moral ideal supported by intellectual power? What has become of the influence and guidance of the great religions Christian, Moslem, Hebrew, Buddhist with their counsels of peace and good-will, or of those of Plato and of Aristotle, of St. Augustine and of St. Thomas Aquinas, and of the outstanding captains of the mind Spanish, Italian, French, English, German who have for hundreds of years occupied the highest place in the citadel of human fame? The answer to these questions is not easy. Indeed, it sometimes seems impossible.
Are we, then, of this twentieth century and of this still free and independent land to lose heart and to yield to the despair which is becoming so widespread in countries other than ours? Not for one moment will we yield our faith or our courage! We may well repeat once more the words of Abraham Lincoln: "Most governments have been based on the denial of the equal rights of men, ours began by affirming those rights. We made the experiment, and the fruit is before us. Look at it think of it!"
However dark the skies may seem now, however violent and apparently irresistible are the savage attacks being made with barbarous brutality upon innocent women and children and non-combatant men, upon hospitals and institutions for the care of the aged and dependent, upon cathedrals and churches, upon libraries and galleries of the world s art, upon classic monuments which record the architectural achievements of centuries we must not despair. Our spirit of faith in the ultimate rule of the moral ideal and in the permanent establishment of liberty of thought, of speech, of worship and of government will not, and must not, be permitted to weaken or to lose control of our mind and our action.”

Nicholas Murray Butler (1862–1947) American philosopher, diplomat, and educator

Liberty-Equality-Fraternity (1942)

Life, Women, Men, Children

“I never saw more perfect loveliness.
It ask'd, it had no aid from dress: her robe
Was white, and simply gather'd in such folds
As suit a statue: neck and arms were bare;
The black hair was unbound, and like a veil
Hung even to her feet; she held a lute,
And, as she paced the ancient gallery, waked
A few wild chords, and murmur'd low sweet words,
But scarcely audible, as if she thought
Rather than spoke:—the night, the solitude,
Fill'd the young Pythoness with poetry.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

A History of the Lyre
The Venetian Bracelet (1829)

Solitude, Perfection, Night

“My mind has been so much occupied these days by the thought of Cézanne, of how he has been one of the three or four powerful artists who have affected me like a thunderstorm, like some great event. Do you still remember what we saw at Vollard [art-seller in Paris who showed Cézanne's works frequently in his gallery] in 1900? And then, during the final days of my last stay in Paris, those truly astonishing early paintings of his at the Galerie Pellerin. Tell your husband he should see the things there... If it were not absolutely necessary [Paula was pregnant] for me to be here right now [Germany], nothing could keep me away from Paris.”

Paula Modersohn-Becker (1876–1907) German artist

In a letter from Worpswede, 21 October, 1907, to her friend Clara Rilke-Westhoff; as quoted in Voicing our visions, - Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 208
October 1907 Rilke started to write his famous series 'Letters on Cézanne' to his wife Clara Rilke-Westhoff
1906 + 1907

Art, Painting

“In Europe at the beginning of the twentieth century, the Fauves – Matisse, Derain – were using bright colours in their full intensity, which continued with Kandinsky, Malevich, Kirchner, Léger and Mondrian. They employed all the colours of the spectrum. In the 1940's and 1950's the majority of the Abstract Expressionists in New York rebelled against this European use of colour and mostly used mixed colours. That is, the Abstract Expressionists did use bright colours sometimes, but they tended to paint wet-on-wet, which muddled their hues. As Matisse would say, a small patch of any one colour is far less intense than a large one of the same colour. I returned in 1954 [from Paris] to New York and showed paintings done in France at the Betty Parsons Gallery in 1956 with bright colours that wouldn’t really be used until the Pop artists in the 1960's. My idea of using colour at its full intensity, which began with Colors for a Large Wall, hasn’t changed in the 60 years that I’ve been painting.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

1981 - 2008
Source: 'Colour Chart I', interview with Christoph Grunenberg, 1 May 2009; 'Sixty years at full intensity', Tate 2009

Color, Idea, Change, Painting

“A pallid and thin young man,
A haggard and lank young man,
A greenery-yallery, Grosvenor Gallery,
Foot-in-the-grave young man!”

W. S. Gilbert (1836–1911) English librettist of the Gilbert & Sullivan duo

Patience (1881)

“There will… be natural propriety in using an eastern light for bedrooms and libraries, a western light in winter for baths and winter apartments, and a northern light for picture galleries and other places in which a steady light is needed; for that quarter of the sky grows neither light nor dark with the course of the sun, but remains steady and unshifting all day long.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter II, Sec. 7

Nature, Light, Winter, Sun

“after someone in audience applauds, causing plaintiff to burst into tears: If there's any more noise from our gallery, you're gonna leave. Got it?”

Judith Sheindlin (1942) American lawyer, judge, television personality, and author

https://www.youtube.com/watch?v=xn9XiHQBe1k
Quotes from Judge Judy cases, Dress, stand, speak properly

Tear

“The history of philosophical system is the picture gallery of reason.”

Ludwig Feuerbach (1804–1872) German philosopher and anthropologist

Z. Hanfi, trans., in The Fiery Brook (1972), p. 68
Towards a Critique of Hegel’s Philosophy (1839)

History

“Ahmadabad is one of the largest towns in India, and there is a considerable trade in silken stuffs, gold and silver tapestries, and others mixed with silk; saltpetre, sugar, ginger, both candied and plain, tamarinds, mirabolans, and indigo cakes, which are made at three leagues from Ahmadabad, at a large town called Suarkei. There was formerly a pagoda in this place, which the Musalinans seized and converted into a mosque. Before entering it you traverse three great courts paved with marble, and surrounded by galleries, but you are not allowed to place foot in the third without removing your shoes. The exterior of the mosque is ornamented with mosaic, the greater part of which consists of agates of different colours, obtained from the mountains of Cambay, only two days’ journey thence.”

Shantidas Jhaveri (1580–1659) Indian jewellery and bullion trader during Mughal era

Description of the temple built by Shantidas Jhaveri. Travels In India Vol.-i by Tavernier Jean-baptiste https://archive.org/stream/in.ernet.dli.2015.2546/2015.2546.Travels-In-India-Vol-i_djvu.txt Cited in Harsh Narain, The Ayodhya Temple Mosque Dispute: Focus on Muslim Sources, Appendix VI

Shoe, Mountain, Parting

“"Hair loss and retrieval" (Translation of "Pérdida y recuperación del pelo")

To combat pragmatism and the horrible tendency to achieve useful purposes, my elder cousin proposes the procedure of pulling out a nice hair from the head, knotting it in the middle and droping it gently down the hole in the sink. If the hair gets caught in the grid that usually fills in these holes, it will just take to open the tap a little to lose sight of it.

Without wasting an instant, must start the hair recovery task. The first operation is reduced to dismantling the siphon from the sink to see if the hair has become hooked in any of the rugosities of the drain. If it is not found, it is necessary to expose the section of pipe that goes from the siphon to the main drainage pipe. It is certain that in this part will appear many hairs and we will have to count on the help of the rest of the family to examine them one by one in search of the knot. If it does not appear, the interesting problem of breaking the pipe down to the ground floor will arise, but this means a greater effort, because for eight or ten years we will have to work in a ministry or trading house to collect enough money to buy the four departments located under the one of my elder cousin, all that with the extraordinary disadvantage of what while working during those eight or ten years, the distressing feeling that the hair is no longer in the pipes anymore can not be avoided and that only by a remote chance remains hooked on some rusty spout of the drain.

The day will come when we can break the pipes of all the departments, and for months to come we will live surrounded by basins and other containers full of wet hairs, as well as of assistants and beggars whom we will generously pay to search, assort, and bring us the possible hairs in order to achieve the desired certainty. If the hair does not appear, we will enter in a much more vague and complicated stage, because the next section takes us to the city's main sewers. After buying a special outfit, we will learn to slip through the sewers at late night hours, armed with a powerful flashlight and an oxygen mask, and explore the smaller and larger galleries, assisted if possible by individuals of the underworld, with whom we will have established a relationship and to whom we will have to give much of the money that we earn in a ministry or a trading house.

Very often we will have the impression of having reached the end of the task, because we will find (or they will bring us) similar hairs of the one we seek; but since it is not known of any case where a hair has a knot in the middle without human hand intervention, we will almost always end up with the knot in question being a mere thickening of the caliber of the hair (although we do not know of any similar case) or a deposit of some silicate or any oxide produced by a long stay against a wet surface. It is probable that we will advance in this way through various sections of major and minor pipes, until we reach that place where no one will decide to penetrate: the main drain heading in the direction of the river, the torrential meeting of detritus in which no money, no boat, no bribe will allow us to continue the search.

But before that, and perhaps much earlier, for example a few centimeters from the mouth of the sink, at the height of the apartment on the second floor, or in the first underground pipe, we may happen to find the hair. It is enough to think of the joy that this would cause us, in the astonished calculation of the efforts saved by pure good luck, to choose, to demand practically a similar task, that every conscious teacher should advise to its students from the earliest childhood, instead of drying their souls with the rule of cross-multiplication or the sorrows of Cancha Rayada.”

Julio Cortázar (1914–1984) Argentinian writer

Historias de Cronopios y de Famas (1962)

Money, Family, Way, Feeling

“Putting a shovel in a gallery or museum signified “this shovel has become art.” And it actually was. The action itself is art, because the artist projects himself in choosing the shovel, and especially in placing it out of context. It is art in the sense that the imprint of a hand in a cave is art, the Mona Lisa is art, a happening is art, etc. It is a problem that touches on the ethics and function of the artist: he assumes the right to have this supra-human calling that allows him to say to others, “everything that I touch with my hand is transformed into art.” The artist imposes his anguish, his vision of the world, and himself on others. The artist emasculates the observer. Maybe he thinks that the latter deserves no better… The artist assumes the right to show you what you can see for yourself, what you could obviously see much more clearly without his intervention. I contest this right.”

Daniel Buren (1938) sculptor from France

Source: Art is no longer justifiable or setting the record straight, 2000, p. 66-67

World, Art, Problem, Thinking

“Photography is not an art. Neither is painting, nor sculpture, literature or music. They are only different media for the individual to express his aesthetic feelings... You do not have to be a painter or a sculptor to be an artist. You may be a shoemaker. You may be creative as such. And, if so, you are a greater artist than the majority of the painters whose work is shown in the art galleries of today.”

Alfred Stieglitz (1864–1946) American photographer

'Is Photography a Failure?', Alfred Stieglitz, 'Sun: 5.', March 14, 1922; as quoted on Wikipedia

Art, Music, Feeling, Literature

“The Art we look at is made by only a select few. A small group create, promote, purchase, exhibit and decide the success of Art. Only a few hundred people in the world have any real say. When you go to an Art gallery you are simply a tourist looking at the trophy cabinet of a few millionaires…”

Banksy pseudonymous England-based graffiti artist, political activist, and painter

Wall and Piece (2005)

People, World, Art, Success

“I had left the visible, physical blue at the door, outside, in the street. The real blue was inside, the blue of the profundity of space, the blue of my kingdom, of our kingdom!... the immaterialisation of blue, the coloured space that can not be seen but which we impregnate ourselves with... A space of blue sensibility within the frame of the white walls of the gallery.”

Yves Klein (1928–1962) French artist

In 1958; p. 41
before 1960, "Yves Klein, 1928 – 1962, Selected Writings"

“The antithesis of 10th St. Howard was, at first, like a pariah uptown. He was very midwestern and his gallery had wall-to-wall carpeting.”

Frank Gillette (1941) American artist

Frank Gillette, interview with Marita Sturken, Nov. 11, 1983, cited in: Afterimage, May 1984; About the arrival of Howard Wise in the art community

“Men whose only concern is other people's opinion of them are like actors who put on a poor performance to win the applause of people of poor taste; some of them would be capable of good acting in front of a good audience. A decent man plays his part to the best of his ability, regardless of the taste of the gallery.”

Nicolas Chamfort (1741–1794) French writer

Reflections

Men, People, Parting

“Total abstraction was something intellectual to me. I didn't feel it; I could talk about Mondrian but it didn't occur to me to do it. [around 1950]. I saw a Dubuffet show at Pierre Matisse [the son of Henri Matisse, running an art-gallery in New York then] in the late forties and came back with a new vocabulary. Also when Baziotes won the Carnegie (1948) there was a reproduction in 'The Times'. I remember bringing it to class. It was source of bewilderment, delineated configurations that seemed to come out of Cubism. It was something new. Those were the tastes of a whole dimension that was to come, much more abstract and allover and I didn't see much more of it until I came to New York. I would go to the old Guggenheim to look at Kandinsky. I liked the early abstractions but the later ones I didn't like at all..”

Helen Frankenthaler (1928–2011) American artist

Source: 1960s, Interview with Henry Geldzahler', in 'Artforum', 1965, p. 36

Art, Feeling, Time

“In a national capital Mirabeau and his set
Attacked mystery; the packed galleries roared
And history marched to the drums of a clear idea,
The aim of the Rational City, quick to admire,
Quick to tire.”

W. H. Auden (1907–1973) Anglo-American poet

Memorial for the City (1947)

History, Idea

“Such is our ideal – not another museum, another bleak exhibition gallery, another classical building in which insulated and classified specimens of a culture are displayed for instruction, but an adult play-centre, a workshop where work is a joy, a source of vitality and daring experiment. We may be mocked for our naive idealism, but at least it will not be possible to say that an expiring civilisation perished without a creative protest.”

Herbert Read (1893–1968) English anarchist, poet, and critic of literature and art

On the occasion of the opening of Forty Years of Modern Art (February 1948)
Literary Quotes

Joy

“My [dear] Sir: Let me first offer my kind regards. I agree that I should come soon to see how the picture accords with the rest. As regards the price, I certainly deserve 200 pounds for it, but shall be content with whatever His Excellency pays me. And if you, Sir, do not deem it presumptuous, I shall not neglect to requite the favor. Your humble and devoted servant Rembrandt - It [the picture] will show to [the] best advantage in His Excellency's gallery, since there it will be [displayed] in bright light.”

Rembrandt van Rijn (1606–1669) Dutch 17th century painter and etcher

Letter to Constantijn Huygens (Amsterdam, after Feb. 1636) http://remdoc.huygens.knaw.nl/#/document/remdoc/e4429 Rembrandt emphasizes here the urge for a place with bright light, necessary to view his painting well. Not certain is which painting by Rembrandt is meant here. 1630 - 1640

Light

“His poor marksmanship must be taken into account. We have just won the most terrible war in history, yet here is a Frenchman who misses his target 6 out of 7 times at point-blank range. Of course, this fellow must be punished for the careless use of a dangerous weapon and for poor marksmanship. I suggest that he be locked up for eight years, with intensive training in a shooting gallery.”

Georges Clemenceau (1841–1929) French politician

Arguing against seeking the death penalty for the anarchist who had attempted to assassinate him on 19 February 1919, shooting at him seven times and hitting him only once in the chest, as quoted in A Time for Angels : The Tragicomic History of the League of Nations (1975) by Elmer Bendine, p. 106
Prime Minister

War, History, Time, Training

“It is the rare person who can stand aside and observe that our minds and identities are largely constructs of our social order, that we are abstract and arbitrary collections of ideas that resemble dusty archives in the galleries of a museum, visited by nobody, and maintained by a series of those insensible robots that are our habits.”

Justina Robson book Natural History

Source: Natural History (2003), Chapter 25 “Tom Who Built the Aeroplane” (pp. 254-255)

Idea, Personality

“No one has ever suggested that tax exemption has converted libraries, art galleries, or hospitals into arms of the state or employees "on the public payroll." There is no genuine nexus between tax exemption and establishment of religion.”

Warren E. Burger (1907–1995) Chief Justice of the United States from 1969 to 1986

Walz v. Tax Commission, 397 U.S. 664, 675 (1970).

Religion, Art

“In 1964 I was at school, planning to study economics and sociology, when curiosity took me to the Tate Gallery to see an international survey exhibition of contemporary art. It brought together the painting and sculpture of the previous decade, beginning with the late works of the modern masters, Matisse and Picasso, and concluding with the twenty-seven year olds Allen Jones and David Hockney. I was bowled over. Suddenly, art was not just Turner and Constable, or Leonardo and Michelangelo, but objects of considerable size and brilliant colour, dealing with the sensations, subjects and issues of the Sixties.”

Nicholas Serota (1946) British curator

The Dimbleby Lecture 2000

School, Art, Study, Painting

“In the 1960s the works of Takis and Tinguely were experiments with different forces, both magnetic and kinetic. My work differed from theirs, for although my kinetic art works used machines, the works themselves moved in random organic ways and avoided the monotonous repetitive movements of most machines. My land art projects and all the rest of my cosmic propulsions were born out of the organic and my relation with the dynamics of nature. When I first exhibited with Liliane Lijn at the Indica Gallery in London in 1967 I called my artworks bio-kinetic sculptures. Some of my artworks in that show are featured in the film I’ll Never Forget What’s’isname by the English director Michael Winner.”

David Medalla (1942) Filipino artist

Source: Adam Nankervis, " A Stitch in time http://moussemagazine.it/articolo.mm?id=707," in: Mousse Magazine.it, Issue 29, 2015

Art, Way, Nature, Forgetting

“To show that this end [of art by its dissolution into real life] is only a beginning, it is essential that.... the series of galleries [of the future museum of modern art] be followed by a room in which painting and sculpture will be realized by the interior itself.... demonstrating that what is lost for art is gained for life. This room could therefore be designed for use as a lecture room, a restaurant.... as a bar with an American jazz band.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Mondrian's reaction on a questionnaire (c. 1931?)
Quote of Mondrian, as cited in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 166
1930's

Life, Art, Future, Painting

“After thirty years of looking at new work in galleries and even newer work in studios, I am very familiar with the experience of being completely at a loss when confronting a new idea or image.”

Nicholas Serota (1946) British curator

The Dimbleby Lecture 2000

Idea, Loss

“It is a special kind of secret how these Asiatic elements [of American Indians] came over the Bering Strait long ago. It's the same with the coyote. When I worked with the coyote [this quote refers to the performance by Beuys when he was locked up together with a coyote in a cage for a few days in René Block Gallery, New York City in 1974], I had the idea that it was not an indigenous animal. It came as a wolf with the Indians over the Bering Strait. And this Asiatic wolf, or step wolf, changed his whole biological configuration and behavior. Then it was my idea to import the coyote once more back to Europe, and you could see it [the coyote] change back to the European wolf or Siberian wolf. It is a transformed European wolf, the coyote, how it came to the character of a brush wolf.”

Joseph Beuys (1921–1986) German visual artist

Quote of Beuys in an interview with Alan Moore and Edit deAk, 1974; as cited in: Joseph Beuys in America: Energy Plan for the Western Man., Carin Kuoni; New York, 1993, p. 213
1970's

Secret, Behavior, Quotes, Idea

“A few months ago I read an interview with a critic; a well-known critic; an unusually humane and intelligent critic. The interviewer had just said that the critic “sounded like a happy man”, and the interview was drawing to a close; the critic said, ending it all: “I read, but I don’t get any time to read at whim. All the reading I do is in order to write or teach, and I resent it. We have no TV, and I don’t listen to the radio or records, or go to art galleries or the theater. I’m a completely negative personality.”
As I thought of that busy, artless life—no records, no paintings, no plays, no books except those you lecture on or write articles about—I was so depressed that I went back over the interview looking for some bright spot, and I found it, one beautiful sentence: for a moment I had left the gray, dutiful world of the professional critic, and was back in the sunlight and shadow, the unconsidered joys, the unreasoned sorrows, of ordinary readers and writers, amateurishly reading and writing “at whim”. The critic said that once a year he read Kim, it was plain, at whim: not to teach, not to criticize, just for love—he read it, as Kipling wrote it, just because he liked to, wanted to, couldn’t help himself. To him it wasn’t a means to a lecture or an article, it was an end; he read it not for anything he could get out of it, but for itself. And isn’t this what the work of art demands of us? The work of art, Rilke said, says to us always: You must change your life. It demands of us that we too see things as ends, not as means—that we too know them and love them for their own sake. This change is beyond us, perhaps, during the active, greedy, and powerful hours of our lives, but during the contemplative and sympathetic hours of our reading, our listening, our looking, it is surely within our power, if we choose to make it so, if we choose to let one part of our nature follow its natural desires. So I say to you, for a closing sentence: Read at whim! read at whim!”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“Poets, Critics, and Readers”, pp. 112–113
A Sad Heart at the Supermarket: Essays & Fables (1962)

Love, Life, Happiness, Books

“I made my examination in Berlin in 1915. And I must say also that Berlin was for me in another way very important. At the time there were all these new movements – 'Die Brücke'…… the 'Der Blaue Reiter', Walden of the 'Storm' Gallery. Then Kassierer who bought the Chagalls, the first Chagall's that were ever seen in Europe were there. And there was 'Die Brücke'. Rottluff, Heckel, and Kirchner. You know we saw all that. Which was good. You see, Kassierer was then the man who bought the modern French painters. He had particularly Degas who I consider still today a very good painter, one of the best. But, anyway, in spite of my teaching my art was my concern. On the little money I had collected I lived in Berlin very cheaply, ate very cheaply. And already in 1920 I saved the first salaries I received to go to Munich… So for the first time I saw the old masters, Rubens and all at the Alte Pinakothek.”

Josef Albers (1888–1976) German-American artist and educator

Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

Money, Art, Way, Time

“The dichotomies which are the signature of their work – the esoteric and the exoteric, the civil and the managerial, the friend and the foe, the lawful and the legislative – are so many cordons. Their function is to hold popular sovereignty at bay. The different gifts displayed in this enterprise, whatever view is taken of it, were remarkable. For all his later tendency to textual dressage, Strauss's range and subtlety as a master of the canon of political philosophy had no equal in his generation. Schmitt's moral instability never impaired an extraordinary capacity to fuse conceptual insight and metaphoric imagination in lightning flashes of illumination around the state. Hayek could seem tactically ingenuous, but he fashioned a theoretical synthesis out of his epistemology and economics whose scope and strength has yet to be supplanted. Oakeshott was the literary artist in this gallery. His writing varies considerably in quality, and can be whimsically arch at one moment and curiously crude at another, disconcertingly close to Punch or Cross-Bencher. But at its best, when it moves into high register, it can rise to a lyrical beauty.”

Perry Anderson (1938) British historian

Source: Spectrum: From Right to Left in the World of Ideas (2005), Ch. 1. "The Intransigent Right, Michael Oakeshott, Leo Strauss, Carl Schmitt, Friedrich von Hayek" (1992), p. 27

Law, Beauty, Imagination, Fashion

“There was a young man with a salary,
Who had to do drawings for Malory;
When they asked him for more,
He replied, 'Why? Sure
You've enough as it is for a gallery.”

Aubrey Beardsley (1872–1898) English illustrator and author

On illustrating Le Mort d'Arthur (1893), as quoted in Aubrey Beardsley : A Biography (1999) by Matthew Sturgis, p. 155

Drawing

“Once again there appears to be a considerable difference of opinion. I wanted a series with distinction, I have no interest in a series which is purely and uniquely suspenseful but makes no comment about anything. But all they seem to want is maniacs in a cemetery. When I complain they pat me on the head, condescend, and hope I go away. When I was on the Twilight Zone I took the bows, but I also took the brickbats, because when it was bad it was usually my fault, but when it's bad on the Night Gallery, I had nothing to do with it, yet my face is on it all the time.”

Rod Serling (1924–1975) American screenwriter

Rod Serling: American Masters.
Other

Hope, Appearance, Time, Night

“Well, you must now imagine my friend at my age or almost there. You must picture him growing gray, tired of life and convinced that he had at last discovered the secret of peace. At this time he met, while visiting some relatives in a country house, a mere girl of twenty, who was the image, the haunting image of her whom he had hoped to marry thirty years before. It was one of those strange resemblances which extend from the color of the eyes to the 'timbre' of the voice, from the smile to the thought, from the gestures to the finest feelings of the heart. I could not, in a few disjointed phrases describe to you the strange emotions of my friend. It would take pages and pages to make you understand the tenderness, both present and at the same time retrospective, for the dead through the living; the hypnotic condition of the soul which does not know where dreams and memories end and present feeling begins; the daily commingling of the most unreal thing in the world, the phantom of a lost love, with the freshest, the most actual, the most irresistibly naïve and spontaneous thing in it, a young girl. She comes, she goes, she laughs, she sings, you go about with her in the intimacy of country life, and at her side walks one long dead. After two weeks of almost careless abandon to the dangerous delights of this inward agitation imagine my friend entering by chance one morning one of the less frequented rooms of the house, a gallery, where, among other pictures, hung a portrait of himself, painted when he was twenty-five. He approaches the portrait abstractedly. There had been a fire in the room, so that a slight moisture dimmed the glass which protected the pastel, and on this glass, because of this moisture, he sees distinctly the trace of two lips which had been placed upon the eyes of the portrait, two small delicate lips, the sight of which makes his heart beat. He leaves the gallery, questions a servant, who tells him that no one but the young woman he has in mind has been in the room that morning.”

Paul Bourget (1852–1935) French writer

Pierre Fauchery, as quoted by the character "Jules Labarthe"
The Age for Love

Love, Life, Secret, Age

“Four years ago almost all of the applauded and selling art was New York School painting. It was preponderant in most galleries, which were uninclined to show anything new. The publications which praised it praised it indiscriminately and were uninterested in new developments. Much of the painting was by the "second generation" many of them epigones. Pollock was dead. Kline and Brooks had painted their last good paintings in 1956 and 1957. Guston's paintings had become soft and gray — his best ones are those around 1954 and 1955. Motherwell's and De Kooning's paintings were somewhat vague. None of these artists were criticized. In 1959 Newman's work was all right, and Rothko's was even better than before. Presumably, though none were shown in New York, Clyfford Still's paintings were all right. This lackadaisical situation was thought perfect. The lesser lights and some of their admirers were incongruously dogmatic : this painting was not only doing well but was the only art for the time. They thought it was a style. By now, it is.”

Donald Judd (1928–1994) artist

Donald Judd, in: Arts Yearbook. (1964) p. 23
1960s

School, Art, Light, Time

“The most important thing was the notion of information presentation and the notion of the integration of the audience into the information. One sees oneself exiting form the elevator. If one stands there for 8 seconds, one sees oneself entering the gallery from the elevator again. Now at the same time one is apt to be seeing oneself standing there watching Wipe Cycle. You can watch yourself live watching yourself 8 seconds ago, watching yourself 16 seconds ago, eventually feeling free enough to interact with this matrix realizing one's own potential as an actor.”

Ira Schneider (1939) American artist

Ira Schneider (1969), , Arts Magazine, Vol. 44, p. 21; As cited in: David Antin. Radical Coherency: Selected Essays on Art and Literature, 1966 to 2005. 2012, p. 81-82: On the Wipe Cycle

Feeling, Time

“From then on [1880] I used to go to the Tretyakov Gallery [in Moscow] every Sunday, arriving very early and staying there without eating until closing time at three o'clock. It was a tremendous experience for me, like going to church. Indeed, I felt as if I were in a temple.”

Alexej von Jawlensky (1864–1941) Russian painter

from: his Memories, in 'Catalogue Raisonné of the oil Paintings', ed. Maria Jawlensky, Angelica Jawlensky and Lucia Pieroni-Jawlensky; published resp. in 1991, 1992, 1993
Source: 1936 - 1941, Life Memories' (1938), p.274

Time

“Reading lots of Dickens. Barnaby Rudge: the last Catholic pogrom - No Popery, the Gordon Riots in London - 1780, twenty years before Newman was born. He must have known people who had set fire to the houses, or taken in victims and refugees. Lord George Gordon who led the mob (obviously a religious maniac) died as late as 1793. Old Curiosity Shop, Nicholas Nickleby - this too, is part of Newman's background, this gallery of living gargoyles, ghouls and monsters. Might account, perhaps, even for some of Newman's pessimism about the world and human nature, which some attribute merely to his own melancholy disposition? That nineteenth century!!”

Ida Friederike Görres (1901–1971) Austrian writer and noble

Broken Lights Diaries 1955-57.

People, World, Nature, Reading

“Every artificial excavation—every well and cellar—every cut for a fort, common road, railway, or canal—every quarry—every tunnel through a mountain—and every pit and gallery of a mine bored into the solid earth, furnish means of investigating its interior. Still more do the inland precipices, and the rocky promontories and headlands along the rivers, lakes, seas, and oceans; the naked mountain-sides ribbed with strata, that bound the defiles, gorges, and valleys; the ruins accumulated at the feet of lofty pinnacles and barriers, and those that have been transported and scattered, far and wide, over the earth; present us with striking features of the internal structure of our planet. Most of all, do the inclined strata push up their hard edges, in varied succession, and thus faithfully disclose the form and substance of the deep interior, as it exists many miles and leagues beneath the observer's feet.”

Gideon Mantell (1790–1852) British scientist and obstetrician

Vol. 1
The Wonders of Geology (1839)

Mountain, Success, Sea

“During the final months of the campaign, as polls indicated that I had a real chance of becoming the next leader, opposition from the supply management lobby gathered speed. Radio-Canada reported on dairy farmers who were busy selling Conservative Party memberships across Quebec. A Facebook page called Les amis de la gestion de l’offre et des régions (Friends of supply management and regions) was set up and had gathered more than 10,500 members by early May. As members started receiving their ballots by mail from the party, its creator, Jacques Roy, asked them to vote for Andrew Scheer.
Andrew, along with several other candidates, was then busy touring Quebec’s agricultural belt, including my own riding of Beauce, to pick up support from these fake Conservatives, only interested in blocking my candidacy and protecting their privileges. Interestingly, one year later, most of them have not renewed their memberships and are not members of the party anymore. During these last months of the campaign, the number of members in Quebec had increased considerably, from about 6,000 to more than 16,000. In April 2018, according to my estimates, we are down to about 6,000 again.
A few days after the vote, Éric Grenier, a political analyst at the CBC, calculated that if only 66 voters in a few key ridings had voted differently, I could have won. The points system, by which every riding in the country represented 100 points regardless of the number of members they had, gave outsized importance in the vote to a handful of ridings with few members. Of course, a lot more than 66 supply management farmers voted, likely thousands of them in Quebec, Ontario, and the other provinces. I even lost my riding of Beauce by 51% to 49%, the same proportion as the national vote.
At the annual press gallery dinner in Ottawa a few days after the vote, a gala where personalities make fun of political events of the past year, Andrew was said to have gotten the most laughs when he declared: “I certainly don’t owe my leadership victory to anybody…”, stopping in mid-sentence to take a swig of 2% milk from the carton. “It’s a high quality drink and it’s affordable too.” Of course, it was so funny because everybody in the room knew that was precisely why he got elected. He did what he thought he had to do to get the most votes, and that is fair game in a democratic system. But this also helps explain why so many people are so cynical about politics, and with good reason.”

Maxime Bernier (1963) Canadian politician

page 23 in "Live or die with supply management", chapter 5 previewed April 2018 http://www.maximebernier.com/my_chapter_on_supply_management of "Doing Politics Differently: My Vision for Canada"

People, Game, Drink, Business

“In one gallery they actually had a notice which said "No Sketching." How obnoxious! I said, "How do you think these things got on the walls if there was no sketching?"”

David Hockney (1937) British artist

"Portrait of the Artist as a Naughty Boy," interview with John Mortimer, In Character (1983), p. 97
1980s

Thinking

“In 1831 Victor Hugo had written that he already heard 'the full sound of revolution, still deep down in the earth, pushing out under the kingdom in Europe to its subterranean galleries from the central shaft of the mine which is Paris. 1847 the sound was loud and close. In 1848 the explosion burst.”

Eric Hobsbawm (1917–2012) British academic historian and Marxist historiographer

Source: The Age of Revolution (1962), Chapter 16, Conclusion: Towards 1848

“A lot of people think that scuttling around stenciling images onto buildings in the middle of the night is the action of a sad, frustrated individual who can't get attention or recognition any other way. They might be right, but I've done gallery shows and, if you've been hitting on people with all sorts of images in all sorts of places, they're a real step backwards, painting the streets means becoming an actual part of the city. It's not a spectator sport.”

Banksy pseudonymous England-based graffiti artist, political activist, and painter

Tristan Manco, Stencil Graffiti
Other sources

People, Sadness, Way, Thinking

“Transforms old print
To zigzag manuscript, and cheats the eyes
Of gallery critics by a thousand arts.”

William Cowper The Task

Source: The Task (1785), Book II, The Timepiece, Line 363.

Art, Cheating

“The routine in the gallery seemed eternal. The artists ate a skimpy breakfast, worked from seven in the morning until noon, ate lunch when lunch was available, exercised by shift in the courtyard below, worked again till six, ate dinner, and worked from seven until eight-thirty. The gallery housed writers, artists, and a few musicians. Sexes were segregated. Every two weeks the men and women were allowed to mix indiscriminately. Any children born were immediately put in the outside government nurseries where they were brought up as workers, beginning in the fields or chemical gardens at the age of six.”

Jane Roberts (1929–1984) American Writer

Source: The Rebellers (1963), p. 9

Women, Men, Children, Age

“It doesn’t matter that your painting is small. Kopecks are also small, but when a lot are put together they make a ruble. Each painting displayed in a gallery and each good book that makes it into a library, no matter how small they may be, serve a great cause: accretion of the national wealth.”

Anton Chekhov (1860–1904) Russian dramatist, author and physician

Letter to S.P. Kuvshinnikova (December 25, 1888)
Letters

Books, Painting, Wealth

“In a time when so many artists have learned to confabulate with extremes of horror and alienation, the most daring thing an artist can do is to fill a book, a gallery, or a theater with joy, hope, and beauty.”

Theodore Roszak (1933–2011) American social historian, social critic, writer

with Betty Roszak, "Deep Form in Art and Nature" Alexandria 4, Vol.4 The Order of Beauty and Nature (1997) ed. David Fideler

Books, Beauty, Hope, Learning

“Gallery visitors did not tell Picasso to invent cubism. Jazz fanatics did not suggest that Miles Davies should work with hip-hoppers. Moviegoers did not propose to Lars von Trier, the Danish film director, that he make Breaking the Waves. And customers sure as hell did not come up with the idea for CDNow or Amazon. com. If you want to do something really interesting and revolutionary, learn to ignore your customers.”

Jonas Ridderstråle (1966) Swedish business theorist

Source: Funky Business Forever, 2007, p. 184

Idea, Hell, Learning

“Instead of designing an extension to the elegant facade of the National Gallery which complements it and continues the concept of columns and domes, it looks as if we may be presented with a kind of municipal fire station, complete with the sort of tower that contains the siren. I would understand better this type of high-tech approach if you demolished the whole of Trafalgar Square and started again with a single architect responsible for the entire layout, but what is proposed is like a monstrous carbuncle on the face of a much-loved and elegant friend.”

Charles, Prince of Wales (1948) son of Queen Elizabeth II of the United Kingdom

Prince of Wales' website http://www.princeofwales.gov.uk/speechesandarticles/a_speech_by_hrh_the_prince_of_wales_at_the_150th_anniversary_1876801621.html Speech at the 150th anniversary of the Royal Institute of British Architects, Royal Gala Evening at Hampton Court Palace, 30 May, 1984. The Prince had undoubtedly read "The Spencers on Spas" written the previous year by his step-mother-in-law, Raine, Countess Spencer, which included on page 14 the observation that "Monstrous carbuncles of concrete have erupted in gentle Georgian Squares". 1990s

Love, Understanding

“A peculiar virtue in wildlife ethics is that the hunter ordinarily has no gallery to applaud or disapprove of his conduct. Whatever his acts, they are dictated by his own conscience, rather than by a mob of onlookers. It is difficult to exaggerate the importance of this fact.”

Aldo Leopold book A Sand County Almanac

Source: A Sand County Almanac, 1949, "Wildlife in American Culture", p. 178.

“Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings. As soon as one does work on walls, the idea of using the whole wall follows. It means that the art is intimately involved with the architecture. It is available to be seen by everyone. It avoids the preciousness of gallery or museum installations. Also, since art is a vehicle for the transmission of ideas through form, the reproduction of the form only reinforces the concept. It is the idea that is being reproduced. Anyone who understands the work of art owns it. We all own the Mona Lisa.”

Sol LeWitt (1928–2007) American artist

Quotes of Sol Lewitt, "Sol LeWitt by Saul Ostrow," 2003

Art, Idea, Understanding, Drawing

“If you read some of the Parisian newspapers, among others the 'Figaro', so beloved of the right-thinking public, you must have learned that I am part of a group of artists who opened a private exhibition [in the art-gallery of Durand-Ruel in Paris, April 1876]. You must also have seen what favour this exhibition enjoys in the eyes of these gentlemen [Berthe refers to the critical articles in Paris with all their mockery about her works]. On the other hand, we have been praised in the radical newspaper, but you don't read those [her aunts]! Well, at least we are getting attention, and we have enough self-esteem not to care. My brother-in-law Edouard Manet is not with us [Manet didn't participate in this first Impressionist show, initiated by Degas ]. Speaking of success, he [Manet] has just been rejected by the Salon; he, too, is perfectly good-humored about his failure.”

Berthe Morisot (1841–1895) painter from France

In a letter to her aunts, 1876; as quoted in The Private Lives of the Impressionists, Sue Roe; Harper Collins Publishers, New York, 2006, p. 155
Berthe wrote this letter after the second Impressionist exhibition of April 1876 where she was participating with 19 pictures (Monet with 18!)
1871 - 1880

Law, Art, Failure, Thinking

“When I think of the thousands and thousands of pounds which have been spent by the National Art Collections Fund on the purchase of paintings—some of questionable merit and dubious condition—by Old Masters already represented in the National Gallery—it makes me boil with rage to think that in 1905 it would not contribute one halfpenny towards the purchase for the nation of a picture by one of the Great French Masters of the late nineteenth century. It was a short-sighted policy, but the Fund's inertia and snobbish ineptitude are entirely characteristic of the habits of art-officialdom in England.”

Frank Rutter (1876–1937) British art critic

Rutter, Frank. Art in My Time, pp. 118–119. Rich & Cowan, London, 1933.
The National Art Collections Fund is now called The Art Fund.

Art, Question, Thinking, Rage

“These are primitive beginnings in art, such as one usually finds in ethnographic collections or at home in one's nursery. Do not laugh, reader! Children also have artistic ability, and there is wisdom in their having it! The more helpless they are, the more instructive are the examples they furnish us; and they must be preserved from corruption at an early age. Parallel phenomena are provided by the works of the mentally diseased; neither childish behaviour nor madness are insulting words here, as they commonly are. All this is to be taken very seriously, more seriously than all the public galleries, when it comes to reforming today's art.”

Paul Klee (1879–1940) German Swiss painter

Diary entry (January 1912), # 905, quoting his "Munich Art Letter" in the journal Die Alpen
1911 - 1914

Wisdom, Children, Age, Disease

“I was just falling in love right, left and centre with these gorgeous young artists who came in the gallery. They’d see this fat old stripper, this nutter who runs a butcher’s shop that she thinks is an art gallery, and who thinks she’s some artist but hasn’t even been to art school… They probably thought, "Christ, who is this woman who’s texting me 20 times a day?"”

Stella Vine (1969) English artist

Catherine Deveney, "Stripped bare", http://living.scotsman.com/index.cfm?id=288312004 The Scotsman, (2004-03-14) On her life running the Rosy Wilde gallery after her mother's death in 2003.

Love, School, Art, Thinking

“Most mathematics books are filled with finished theorems and polished proofs, and to a surprising extent they ignore the methods used to create mathematics. It is as if you merely walked through a picture gallery and never told how to mix paints, how to compose pictures, or all the other "tricks of the trade."”

Richard Hamming (1915–1998) American mathematician and information theorist

Methods of Mathematics Applied to Calculus, Probability, and Statistics (1985)

Books, Mathematics, Painting

“My recollection of meeting him [ Jackson Pollock ] outside of this one incident, was at a show that John Graham did at the MacMillin Gallery [1942]. He invited someone called Jackson Pollock and myself, and, I believe, de Kooning. There were three unknown Americans put into that show and it turned out we were the three and it was through that source, my trying to track down the other unknown American who was painting abstractly at that point, as though I knew them all in New York City.... and I promptly went up to Pollock's studio and that's when I say I met Pollock for the first time.... And then, you see, after I saw Pollock, met him, saw the work, I said, "I understand the third painter is de Kooning," and he said he didn't know de Kooning and I said, "Well, I do and I'll take you over and introduce you."”

Lee Krasner (1908–1984) American artist

So I brought Pollock up to de Kooning's studio. De Kooning was in a loft at that time because he was something, and that is how Pollock met De Kooning.
n.p.
Oral history interview with Lee Krasner, 1964 Nov. 2 - 1968 Apr. 11

Understanding, Time, Painting

“To a person uninstructed in natural history, his country or sea-side stroll is a walk through a gallery filled with wonderful works of art, nine-tenths of which have their faces turned to the wall.”

Thomas Henry Huxley (1825–1895) English biologist and comparative anatomist

"On the Educational Value of the Natural History Sciences" (1854) p. 29 http://books.google.com/books?id=FJZWAAAAcAAJ&pg=PA29 1850s

Art, History, Nature, Personality

“The universe (which others call the Library) is composed of an indefinite and perhaps infinite number of hexagonal galleries, with vast air shafts between, surrounded by very low railings.”

Jorge Luis Borges book The Library of Babel

"The Library of Babel" ["La Biblioteca de Babel"] (1941) First lines

Universe

“The farther West we drove [to California, Fall of 1963, with Gerard Malanga, Wynn Chamberlain, and Taylor Mead for an opening of Warhol's 'Liz & Elvis paintings' at the Ferus Gallery in Los Angeles], the more Pop everything looked on the highways. Suddenly we all felt like insiders because even though Pop was everywhere – that was the thing about it, most people still took it for granted, whereas we were dazzled by it – to us, it was the new Art. Once you 'got' Pop, you could never see a sign the same way again. And once you thought Pop, you could never see America the same way again. The moment you label something, you take a step – I mean, you can never go back again to seeing it unlabeled. We were seeing the future and we knew it for sure.... the mystery was gone, but the amazement was just starting.”

Andy Warhol (1928–1987) American artist

quote in 1963
Quote in Warhol in his own words – Untitled Statements ( 1963 – 1987), selected by Neil Printz; as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467
1963 - 1967

People, Art, Angels, Way

“The time has probably come to admit that the notion of an avant-garde is no longer useful in discussing contemporary literature. How can there be an avant-garde without a mainstream? Avant-garde de quoi? one must ask. Establishment institutions — universities, museums, foundations, commercial galleries, even the state — have embraced the idea of experimental art for so long that the avant-garde is now a safely domesticated concept, just another traditional style.”

Dana Gioia (1950) American writer

"Notes Toward a New Bohemia," http://www.danagioia.net/essays/ebohemia.htm transcript of a 1993 talk at the Poet's House, New York City, published in Poetry Flash (November/December 1993) and revised for publication in Grantmakers in the Arts (Spring 1994) Essays

Art, Literature, Idea, Universe

“I have been to [gallery] Hagen, saw two Matisses, which enchanted me. A large collection of Japanese masks. Sublime! 'Neue [Künstler] Vereinigung' were hung in a bad light.... Kandinsky, Jawlensky, Bechteleff and Erbslöh have immense artistic sensibility. But the means of expression are to big for what they have to say. The sound of their voice is so good, so fine, that what is being said get lost. Consequently a human element is missing. They concentrate, too much, I think, on form. There is much to be learnt from their efforts. But early things by Kandinsky, and a few by Jawlensky too, seem a little empty to me. And Jawlensky's heads looked at me a little bit too much with colors. With blue and green. I hope you understand what I mean.”

August Macke (1887–1914) German painter of the expressionist group Der Blaue Reiter

in a letter to Franz Marc, 26 December 1910; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 137

Hope, Color, Understanding, Thinking

“My first concert - apart from Beethoven at School and Erik Satie at the opening of my exhibition in Kleve in 1960 - was at the gallery Parnass in Wuppertal in 1963. Dressed like a regular pianist in dark grey flannel, black tie and no hat, I played the piano all over – not just the keys – with many pairs of old shoes until it disintegrated. My intention was neither destructive nor nihilistic. 'Heal like with like' – similia similibus curantur – in the homeopathic sense. The main intention was to indicate a new beginning…. or simply a revolutionary act. This was my first public Fluxus appearance.”

Joseph Beuys (1921–1986) German visual artist

Quoted in: Joseph Beuys, Carin Kuoni. Joseph Beuys in America: Energy Plan for the Western Man. New York, 1993, p. 128; Comment on his first Fluxus performance in 1963 'Heal like with like'.
1970's, Interviews with Caroline Tisdall, 1974 & 1978

School, Shoe, Sense, Appearance

“On May 17, 1969, a show which was to become the seminal exhibition of video art in the U. S. opened at the Howard Wise Gallery in New York City. That exhibition, "TV as a Creative Medium," effectively pointed to the diverse potential of a new art form and social tool. Subsequently, the show became renowned for the inspiration it provided for many artists and future advocates of video. The artists represented in the show, a few of whom are still involved in the medium today, came from varied backgrounds-painting, filmmaking, nuclear physics, avant-garde music and performance, kinetic and light sculpture-and their approaches presented a primer of the directions which video would soon take. Theoretically, they variously saw video as viewer participation, a spiritual and meditative experience, a mirror, an electronic palette, a kinetic sculpture, or acultural machine to be deconstructed. Ripe with ideas and armed with a heady optimism about the future of communications, these artists used video as an information tool and as a means of gaining understanding and control of television, not solely as an art form. In "TV as a Creative Medium" alternative television was presented as a stepping stone to the promised communications utopia.”

Marita Sturken (1957) American academic

Marita Sturken. " TV as a Creative Medium: Howard Wise and Video Art http://www.vasulka.org/archive/4-30c/AfterImageMay84(1004).pdf," in: Afterimage, May 1984

Art, Music, Communication, Idea